Hubcap Music is Seasick Steve’s sixth studio album. On the album the bluesman sings and plays various stringed instruments including a “hubcap guitar”. He is joined by Dan Magnusson on drums, John Paul Jones on bass guitar amongst other instruments, and Jack White on guitar on the track “The Way I Do”. It was produced by Seasick Steve himself and recorded at his home–The Dog House–and at Sputnik Sound in Nashville.
Sam Amidon is a folk singer, multi-instrumentalist and reworker and arranger of songs, whose intriguing new album mixes sparse, no-nonsense treatments of traditional material with unexpected jazz themes and experiment. Now based in London, he was brought up in Vermont, where his parents were noted singers of shape-note hymns; 36 years ago they were part of a group who recorded Weeping Mary for the same label this album is on, and it reappears here with his deadpan vocals matched against a quirky, edgy wash of sound. Another hymn, He’s Taken My Feet, starts with Amidon’s delicate guitar work, but the mood is transformed first by a drifting solo from jazz trumpeter Kenny Wheeler, and then by an extraordinary cacophony of noise. Elsewhere, he shows off his subtle fiddle work on Streets of Derry and his piano playing on an unlikely, sparse treatment of Mariah Carey’s Shake It Off. A strange but compelling set.
The Withdrawing Room is debut album Mary Lattimore,a stunning experiment, a counterexample to music as our shared sense. Watch audiences at galleries, museum exhibits, or book readings. These are rooms of individuals, a fact that does not reflect positively or negatively on the crowd, it is simply a characteristic of the art. But rhythm and dissonance unite us. So look now to the crowds at nightclubs and live music venues: dancing with, embracing, even sharing drinks with strangers. Art exhibits don’t have that effect, nor are they meant to.
“Tombstone Boys, Graveyard Girls,” is Tom Ovans’ ninth album and third for Floating World records. His strongest and most thought-provoking work to date, the album has a tenacious grip on the good and the bad of the world and a poet’s view of its beauty and destruction. Musically the album finds an artist working on instinct and digging deep into the soul of each song. The album is filled with performances that are at once immediate and timeless.
Tom Ovans – vocals, acoustic guitar, electric guitar, mandolin, harmonica
Lou Ann Bardash – vocals, background vocals
Robert McEntee – electric guitar, background vocals
Mark Hallman – accordion, drums, bongos, maracas, tambourine, percussion, background vocals
Country singer Georgia Holt , 86, mother of the legendary Cher, releases her first CD ‘Honky Tonk Woman’ . Recorded in Los Angeles in 1980 when Georgia hooked up with Elvis Presley ‘s musicians, the country/pop album was never released. The tapes sat in Holt’s garage for over 30 years before being rediscovered, restored and mixed by The Voice’s Musical Director Paul Mirkovich , who is also Cher’s musical director along with Ollie Marland and Jorge Velasco .
mp3 VBR~267 kbps | 62 MB | UL
Their lone single and unreleased album form the core of this 22-track reissue, which features imaginative rearrangements of standards like “Corrine, Corrina,” an obscure Dylan cover (“Walkin’ Down the Line”), rocking originals, a confident performance of Goffin/King’s “Take a Giant Step” (later Mahal’s signature tune), and nifty guitar interplay between Mahal and Cooder throughout. Overall, it sounds a lot more like it belongs in 1967-1968 than 1965-1966. This archival release has value above and beyond historical interest.
Ry Cooder – Guitar, Dobro, Mandolin, Vocals
Taj Mahal – Guitar, Harmonica, Piano, Vocals
Jesse Lee Kincaid – Guitar, Vocals
Gary Marker – Bass
Kevin Kelley – Drums, Percussion
2.Pieces of My Heart
3.Step Into The Picture See All 2
7.Prisoner See All 2
13.When You Go
mp3 128 kbps | 44 MB | UL
The most immediately striking part of Olsen’s sound is her ability to sound comfortable within her traditional folk melodies one second, and fucking possessed the next. “I love the way you take a walk/ and all the things that you see with your eyes/ Oh, to be that distant thought/ some growing meaning in your mind”, she pines on opener “Acrobat”, her voice gentle and composed before spiraling into a terrifyingly convulsive, unmistakable vibrato as her song takes a hard left towards atonal and her words towards unhinged: “I am life.”
Olsen’s white-hot volatility isn’t the main story of Half Way Home, but more the engine that carries her equally remarkable sense for folk- and country-based arrangements into something far less definable; even “anti-folk” is shallow in comparison. When you put the two together, out comes one of the most curious and exciting young voices currently emerging from the Americana realm.
After 3 years of silence, it’s Maines’ turn. Mother was co-produced with Ben Harper; he and his band back her on a series of generally polished rock & roll covers and originals. This is a singer’s record, not a songwriter’s. Maines has made no secret of her preference for rock and R&B over country, and her version of rock is indulged here. The set’s best moments are the most unexpected. Her reading of Eddie Vedder’s “Without You” finds Maines digging into its lyric and exposing its veins. The title cut by Roger Waters is less spooky and mournful than the original, and contains a tinge of contemporary country in its mix. The set’s real gems include her scorching take on Patty Griffin’s unreleased “Silver Bell,” which is nearly off the rails in its intensity and features blazing guitars from Harper and Jason Mozersky. The midtempo “Come Cryin to Me” was co-written by the Dixie Chicks and the Jayhawks’ Gary Louris. It’s a pop/rock number about devotion and unconditional love, and Maines delivers the lyric with an earthy passion and commitment. Her version of Jeff Buckley’s “Lover You Should Have Come Over” stretches her throaty contralto and falsetto to the breaking point, and offers a range of expression we’ve seldom heard from her before.